Music Behind the Screen

For the 80-plus year history of Batman, there have been a few main musical benchmarks - 1960s Neal Hefti television theme, Danny Elfman's version in 1989 and Hans Zimmer/James Newton Howard's in 2005.

But over the years, the music from Tim Burton's film by Danny Elfman has been most associated with the character and appearing all over media as recently as this year. I'm going to feature the film examples, but shout out to the television series and Lego Batman video games. Here are some of the film examples.

Batman (1989)

Along with the production design, the music is one of the most defining features of Burton's gothic Gotham. Minor key mystery and bombastic fanfares define the Elfman Batman sound.

Batman Returns (1992)

Of course the sound continued into the sequel, this time using more Christmas motifs and emphasizing music of the villains.

Justice League (2017)

Elfman brought his Batman theme to the mix when Joss Whedon brought him on board. The theme notably appears in Batman entrances and fight scenes. He also incorporated the 1978 John Williams Superman theme and 2017 Zimmer/Junkie XL Wonder Woman theme. The Snyder Cut eliminated all the past musical references.

Teen Titans GO! To the Movies (2018)

In between all the DC film humor, Batman chases the Teen Titans and Elfman's theme appears.

The Lego Movie 2: The Second Part (2019)

We hear a sample of Elfman's theme during Batman's rap portion of "Gotham City Guys".

Space Jam: A New Legacy (2021)

When LeBron enters the DC World, we see him as animated Robin with Bugs Bunny as Batman in the Batmobile. Naturally, we hear Elfman's theme.

DC League of Super-Pets (2022)

Steve Jablonsky's score incorporated several past themes for humorous character entrances, including 1978 Superman, 1970s TV Wonder Woman and Elfman's Batman theme.

The Flash (2023)

Returning to Michael Keaton's portrayal of Batman, the Elfman theme plays a large part in the second half of Benjamin Wallfisch's score.

In addition to being a film score fan, I also am a huge fan of Broadway musicals. I wanted to focus on something I noticed as my worlds collided with Back to the Future: The Musical.

Adapting films into stage musicals isn't a new fad, but it's definitely been seen more in recent seasons. For most properties, it's all about the name recognition, predefined characters and built in fanbase.

Originally, shows used to change names (The Apartment became Promises, Promises, Smiles of a Summer Night became A Little Night Music, etc). Then there are the adaptations that feature an iconic song from the film (sometimes by contract, sometimes for fan expectation): "Springtime for Hitler" had to be in The Producers, "Day-O" happens in Beetlejuice the Musical, Rocky the Musical used both "Eye of the Tiger" and "Gonna Fly Now" as montage music, and Shrek the Musical added "I'm a Believer" after the show opened.

But in the years of musical adaptations, I can't think of many other examples where the film songs are heard AND you also hear snippets of the film's score. The new songs were written by Alan Silvestri and Glen Ballard. For films they've collaborated on songs for The Polar Express, Beowulf, A Christmas Carol, The Croods and Pinocchio. Included in the musical are songs from the film - "Earth Angel", "Johnny B. Goode". They also decided on using the iconic Huey Lewis songs "Power of Love" and "Back in Time". Since Silvestri himself was involved, it makes sense to include moments from his iconic film score.

Using the Original London Cast Recording, "Overture" is an abridged version of the film's 'overture' cue. The main film theme is also the melody to the chorus of "It's Only A Matter of Time". The theme gets a thrilling statement in "Don't Drive 88!" which hardly sounds like a typical Broadway score during the time travel sequence. "The Letter" features almost an exact copy of the same film cue. "The Clocktower" underscore sequence follows much of the film score, including Doc's theme and many other bits of Silvestri's iconic action cue. "Doc Returns" continues the film score almost exactly until a reprise of "It's Only A Matter of Time".

Underscoring dialogue and scene changes are common in musicals, but it's interesting just how much was used from the film score. Utilizing the film's music is more akin to theme park shows as Variety pointed out in their review: "Back to the Future will seem more fitting for a theme park than Broadway." It will be interesting to see if other shows follow this trend if they follow a very faithful adaptation to the stage.

Back to the Future the Musical opened in London's Adelphi Theatre in September 2021 and opened in Broadway's Winter Garden Theatre August 2023.

Alan Silvestri, Bob Gale, Glen Ballard

Back to our musical score time machine! For this edition, we're looking back to 2013! Here's a look back at the scores of the year with my list of the 10 Best Scores Turning 10!

Let's start the ranking!

10. Iron Man 3 (Brian Tyler)

Tyler finally gives Iron Man a shining musical identity...for at least this film. Extremis and Mandarin low electronic melodies aren't the strongest, even though they're featured heavily. Iron Man gets his solid theme, used in full "epic blockbuster" sound using Tyler's signature rock sound along the way. The 60s end credit arrangement is also a blast.

9. Philomena (Alexandre Desplat)

This score shows off Desplat's lighter side, still teeming with emotion and beautiful orchestration. His recurring melody is this airy waltz that lends itself to the touching and funny moments of the film.

8. Now You See Me (Brian Tyler)

What a fun score - full of in your face action caper moments. Tyler's score is full of drum set and funky brass and some great statements of the main themes.

7. The Hobbit: The Desolation of Smaug (Howard Shore)

The music might be one of the better parts of the film - several reoccurring themes get new variations. New material focuses on themes for Smaug, Laketown and Tauriel. The darker fantasy elements match nicely with the action set pieces.

6. Frozen (Christophe Beck)

The songs hit the charts and the cultural zeitgeist. Beck's score is full of magical moments, enormous heart and strong (but brief) action pieces. The choral opening (co-written by Frode Fjellheim) is a highlight.

5. The Lone Ranger (Hans Zimmer)

A cross between Pirates of the Caribbean and Sherlock Holmes - Zimmer went full Western. It's a bit dark in spots, but full of adventure, melodies and Morricone references. The Geoff Zanelli-arranged William Tell finale is absolutely worth a listen - just don't watch the movie.

4. Gravity (Steven Price)

One of the thrilling aspects of the film is the score. A mix of orchestra, electronics and sound designs. It highlights the loneliness, scariness and beauty of space. Music is featured so heavily in the film, matched with some stunning visuals and notably in the standout finale.

3. The Croods (Alan Silvestri)

What a blast of an animated score - zany antics are scored wall-to-wall. There's the marching band sequence, plenty of mickey-mousing and classic Silvestri action scoring tricks. The score stands out because of the main theme which became the end credit song, with the family theme and cave painting theme adding the heart into the film.

2. The Book Thief (John Williams)

Williams added a sense of loss, longing and warmth to this film adaptation. Solo piano leads many cues, while the beautiful melodies feature a small ensemble with solo woodwinds and harp. The score is more subtle, which is finally allowed to shine in the full concert suite at the end of the album.

1. Saving Mr. Banks (Thomas Newman)

Newman's signature style in apparent in this scores' melody, harmony and instrumentation. It doesn't try to compete with the Mary Poppins melodies, instead giving some emotional moments to PL Travers backstory and optimistic charm to Disney. Newman completely elevated the film with his touching score.

Honorable Mentions:

42 (Mark Isham), Oblivion (M83/Joseph Trapanese), Oz the Great and Powerful (Danny Elfman), Rush (Hans Zimmer), Star Trek Into Darkness (Michael Giacchino), Thor the Dark World (Brian Tyler)

Any personal favorites of yours from 2013 that I didn't include?

In this Music Behind the Ride, I wanted to look at the recent Disney live stage production based on the most unlikely of sources - Rogers: The Musical.

In the first episode of 2021's Hawkeye on Disney+, we see Clint Barton dealing with his past trauma during a showing of the in-universe Rogers: The Musical. Hawkeye sits uncomfortably during the musical number "Save the City". New Yorkers sing about their need for saving while introducing each Avenger: Captain America, Black Widow, Iron Man, Hawkeye and Hulk. We also see various Chituri, Loki and even Ant-Man (not even in the Battle for New York). We only see snippets of the Broadway number in the first episode, but the entire thing is shown in the credits of the show's finale. The song was written by Marc Shaiman and lyrics by Scott Wittman and Marc Shaiman.

The next stop was at the D23 Expo in 2022, where "Save the City" was performed live with a full cast and band led by Marc Shaiman. Around that time, Disney Live Entertainment looked at transforming the song into a full live stage show to fill the empty Hyperion Theater at Disney California Adventure.

Broadway writer Hunter Bell would write a the book, and Jordan Peterson would direct. Christopher Lennertz, Peterson and Alex Karukas would write five new songs, filling out the show with "Save the City" and "Star Spangled Man" (the Alan Menken/David Zippel song from Captain America: The First Avenger). Eventually it became the a 30 minute stage show full of music, humor and heart.

Now onto the show. Captain's shield is projected onto the curtain and an illuminated radio plays old-time jazz tunes and pre-show announcements. After the fanfare, we're introduced to the Starkettes, three storytellers that welcome us and begin to tell the story of Steve Rogers in "U-S-Opening Night". They are joined by dancers, paperboys and soldiers dancing around the Stark Club. When Steve enters, we hear a snippets of the Captain America theme by Alan Silvestri. After greeting his pal Bucky, Steve sings the ballad "I Want You" under an Uncle Sam poster while seeing various doctors turn him away.

Dr. Erskine and Agent Carter meet up with Steve, introducing him to the Super Soldier machine with the Skarkettes sing part of "Star Spangled Man". He steps into the machine and steps out as Captain America. He quickly jumps into the role as war bond mascot as the song continues. Agent Carter tells him about a mission to rescue Bucky, and they sing a snippet of "Just One Dance". A comic book-styled montage of Captain's missions plays over different verses of "Star Spangled Man". "Just One Dance" continues as Steve's plane crashes into the ice.

Time passes with sound clips as Steve wakes up in a hospital. Nick Fury gives him the rundown of "What You Missed". This patter song (mixed with funk) has tons of quick references, which also appear on the Times Square-styled billboards. The Starkettes jump in with musical references to the "I Love Lucy" theme, Imperial March from Star Wars and "Friend Like Me" from Aladdin. Nick introduces the Avengers as their Alan Silvestri theme plays. He quickly introduces the other MCU characters as Captain suits up with jacket and shield.

An announcer mentions the alien invasion with a large explosion, leading into "Save the City", replicated pretty much from Hawkeye. After the applause, bits of the song are interjected with the announcer mentioning the Sokovia attack, Winter Soldier attack on Washington DC, and Wakanda attack.

Captain America meets up with older Steve Rogers on a bench, and they sing the duet "End of the Line". We see comic projections from the time stone of young Steve, Captain and Sam Wilson's Captain. A clock ticks with snippets of past conversations with Peggy Carter. She's standing outside of the Stark Club and sings "Just One Dance", which Steve joins in. The narrating Starkettes return for the "Finale" with the whole cast and a reprise of "Save the City" with mini reprises of other songs put in. The company takes their bow to a playoff reprise of "End of the Line".

The show ran at the Hyperion Theater in Disney California Adventure from June to August 2023. A digital cast recording of the show followed in September 2023. With great reviews and reception from park guests, the future of Rogers: The Musical is uncertain. For a brief time, it was great to have the Hyperion Theater filled with campy humor, real heart and singing Marvel superheroes.

Wonka

Score by Joby Talbot

Songs by Neil Hannon

Music & Songs Arranged by Joby Talbot, Jeremy Holland-Smith

Orchestrations by Jeremy Holland-Smith, Dave Foster, Harry Brokensha

Conducted by Jeremy Holland-Smith

Original Willy Wonka songs by Leslie Bricusse and Anthony Newley

Score recorded at Abbey Road Studios, AIR Studios, Angel Studios

Total album running time: 56 minutes

Available on WaterTower Music

I'll let you in on a secret - Wonka is a musical. Interestingly enough, all the versions of the Roald Dahl book have some kind of musical moment. Willy Wonka and the Chocolate Factory (1971) had the delightful songs by Anthony Newley and Leslie Bricusse, while Tim Burton's Charlie and the Chocolate Factory (2005) incorporated Dahl's poems into the strange Oompa Loompa songs.

Here we have the marketing department hiding the musical-ness of the film. The songs and singers were a delightful surprise - written by Neil Hannon (known for his band The Divine Comedy). Not only do characters sing throughout the film, the music is so carefully interwoven into the film's score by Joby Talbot. Not even Disney has done this level of melody usage recently! Wonka's motif stems from "A Hatful of Dreams", the mean Scrubbit theme from "Scrub Scrub", and "Sweet Tooth" identifies with the Chocolate Cartel. Thankfully, the score and songs are orchestrated and arranged to match beautifully. I find myself singing the catchy songs that really add a lot to the film's style.

The album isn't quite in chronological order, but here's a rundown.

As the Warner Bros and Roald Dahl logo appear, we first hear Pure Imagination (Opening Titles Version), a lovely simple arrangement of the melody on piano with magical orchestral touches. The film begins right away with the whistle introduction of "A Hatful of Dreams". Timothée Chalamet as Wonka enters the town, transitioning into the catchy "I want" song. Welcome to Scrubbit's features pizzicato strings, celeste before balalaika and flute introduces the melody of "Scrub Scrub". The melody continues to grow with interesting instrumentation. The introductions of "Hatful" and snippet of "World of Your Own" blend together to end the cue.

For Wonka's first chocolate demonstration, we hear "You've Never Had Chocolate Like This (Hoverchocs)". Another catchy tune with delightful rhymes and neat instrumentation. The chocolate causes the Chocolate Cartel members to levitate in Flying Chocolatiers - the melody of the previous song continues. The rest of the trapped workers sing "Scrub Scrub", laundering to the beat of the song. The strong minor key vamp give it the feel of a Kander & Ebb song. Wonka's Case continues with strings and celeste with the melody of "World of Your Own" in a music box arrangement. The music gives the several flashbacks a sentimental mood.

The Chocolate Cartel members bribe the police chief in "Sweet Tooth", with a tango-esque feel. The song builds to big Broadway finish. Willy and Noodle at the Zoo follows their break in with twinkling instruments and chorus and we hear bits of "Never Had Chocolate". Strings and piano introduce the melody of the following song "For a Moment" as Noodle and Willy bond. The piano continues into "For a Moment" as Noodle sings her ballad. The duet continues with Wonka's rhyming counterpart. He helps give her hope while lifting her spirits with a flight out of the zoo on a bundle of balloons.

The Letter 'A' starts on marimba with mandolin continuing the melody of "For a Moment" with some lighter instrumentation, very Desplat-eque. Clock Tower beings with the chime of the "Hatful of Dreams" introduction and the lilting melody of "Never Had Chocolate". The reprise of "You've Never Had Chocolate Like This" sees Wonka using his secret operation to sell his chocolate concoctions to townspeople. We also get a bit of Noodle teaching Wonka to read and the Cartel trying his sweets.

Wonka finally catches the 'little orange man', Lofty the Oompa Loompa. The song "Oompa Loompa" begins with Lofty playing the pipe notes from Willy Wonka and the Chocolate Factory. With new lyrics, he sings about being kicked out of town and tracking Wonka down. New lyrics by Neil Herron, original song by Leslie Bricusse and Anthony Newley. The arrangement makes it fit with the other songs, but it is weird hearing the familiar song with different lyrics.

As Wonka finally opens his magical shop, he sings "A World of Your Own", which grows into a jazzy 60's pop number with his compatriots adding in background vocals. After getting pushed out, Wonka sings the short piano ballad "Sorry, Noodle". Mamma's Secret is a gentle version of the intro and melody from "A World of Your Own" on piano. This sentimental version works great in the scene.

Pure Imagination (the classic Newley/Bricusse song from 1971) appears in a slower version with some updated lyrics. As more instruments add their own counter line, the tempo picks up to a bigger finish. In the end credits we hear "Oompa Loompa (Reprise)" with Lofty following up with the whereabouts of characters.

Here we find the longer score tracks placed at the end of the album. The "Hatful" introduction expands in 500 Monks, 1 Giraffe. The tension builds with bits of "Sweet Tooth" brought in before the tempo increases. The monk choir adds chants of 'giraffe' while the brushed snare drum helps keep the momentum. Death By Chocolate adds more drama with ticking, brass growling and muted trumpets on the "Sweet Tooth" melody. Even "Oompa Loompa" has a moment in the mix before the swirling and rising orchestra takes over. We hear more "Hatful" and "Sweet Tooth" before the piano takes over with a brief statement of "For a Moment". The Oompa Loompa to the Rescue is fun orchestral take on the "Oompa Loompa" melody with some heroics mixed with "Hatful" and the comically dissonant "Sweet Tooth". Noodle Gives Affable the Ledger starts with the "Sweet Tooth" melody in woodwinds and later muted trumpets. It transitions to the comic sound used earlier in the flying sequence. Chocolate Fountain rises and leads to the main melody of "Never Had Chocolate", expanding with choir and chimes to the final notes.

You can imagine a film based on Roald Dahl's book is going to have whimsy, magic and a little sinister fun. Not only does Wonka have that, Talbot and Hannon collaborated on one the most cohesive musical scores on film recently.

Here's the annual 2023 Roundup of Original Score nominations and winners from various awards associations. Winners will be marked in red and updated regularly!

ACADEMY AWARD
BEST ORIGINAL SCORE

Nominations January 23

Winners March 10

GOLDEN GLOBE
BEST ORIGINAL SCORE

The Boy and the Heron (Joe Hisaishi)

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

The Zone of Interest (Mica Levi)

BRITISH ACADEMY FILM AWARDS (BAFTA)

Killers of the Flower Moon (Robbie Robertson)

Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Saltburn (Anthony Willis)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

ANNIE AWARDS
OUTSTANDING ACHIEVEMENT IN AN ANIMATED FEATURE PRODUCTION

The Boy and the Heron (Joe Hisaishi)

Elemental (Thomas Newman)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

Suzume (Kazuma Jinnouchi)

Teenage Mutant Ninja Turtles: Mutant Mayhem (Trent Reznor, Atticus Ross)

SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)
ORIGINAL SCORE

American Fiction (Laura Karpman)

Killers of the Flower Moon (Robbie Robertson)

Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Society of the Snow (Michael Giacchino)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

LOS ANGELES FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

Runner-up: Barbie (Mark Ronson and Andrew Wyatt)

*The Zone of Interest (Mica Levi)
(with special recognition of the contribution of sound designer Johnnie Burn)

SAN DIEGO FILM CRITICS SOCIETY
BEST USE OF MUSIC

Air

Are You There God, It's Me Margaret

*Barbie

The Holdovers

The Teacher

SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE

BEST ORIGINAL SCORE

*Killers of the Flower Moon (Robbie Robertson)

Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

The Zone of Interest (Mica Levi)

SEATTLE FILM CRITICS SOCIETY

BEST ORIGINAL SCORE

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

The Zone of Interest (Mica Levi)

WASHINGTON DC AREA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE

The Color Purple (Kris Bowers)

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

BOSTON SOCIETY OF FILM CRITICS
BEST ORIGINAL SCORE
*Killers of the Flower Moon (Robbie Robertson)

Runner-up: The Zone of Interest (Mica Levi)

CHICAGO FILM CRITICS AWARDS
BEST ORIGINAL SCORE

Barbie (Mark Ronson and Andrew Wyatt)

*Killers of the Flower Moon (Robbie Robertson)

Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

The Zone of Interest (Mica Levi)

DETROIT FILM CRITICS SOCIETY
BEST USE OF MUSIC/SOUND

ST. LOUIS FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

Runner-up: Killers of the Flower Moon (Robbie Robertson)

Runner up: May December (Marcelo Zarvos)

*Oppenheimer (Ludwig Göransson)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

The Zone of Interest (Mica Levi)

INDIANA FILM JOURNALISTS ASSOCIATION
BEST MUSICAL SCORE

*Oppenheimer (Ludwig Göransson)

Runner-up: Killers of the Flower Moon (Robbie Robertson)

AUSTIN FILM CRITICS ASSOCIATION
BEST SCORE

Barbie (Mark Ronson and Andrew Wyatt)

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

NORTH CAROLINA FILM CRITICS ASSOCIATION
BEST MUSIC

The Killer (Trent Reznor, Atticus Ross)

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

DALLAS-FORT WORTH FILM CRITICS ASSOCIATION
BEST MUSICAL SCORE

*Killers of the Flower Moon (Robbie Robertson)

Oppenheimer (Ludwig Göransson)

HOUSTON FILM CRITICS SOCIETY
BEST ORIGINAL SCORE

PHOENIX CRITICS CIRCLE
BEST SCORE

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

The Zone of Interest (Mica Levi)

LAS VEGAS FILM CRITICS SOCIETY
BEST SCORE

The Killer (Trent Reznor, Atticus Ross)

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Society of the Snow (Michael Giacchino)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

PORTLAND CRITICS ASSOCIATION
BEST ORIGINAL SCORE

*Oppenheimer (Ludwig Göransson)

Runner-up: Spider-Man: Across the Spider-Verse (Daniel Pemberton)

FLORIDA FILM CRITICS CIRCLE
BEST SCORE

*The Boy and the Heron (Joe Hisaishi)

Killers of the Flower Moon (Robbie Robertson)

Runner-up: Oppenheimer (Ludwig Göransson)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

A Thousand and One (Gary Gunn)

GEORGIA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Runner-up: Spider-Man: Across the Spider-Verse (Daniel Pemberton)

The Zone of Interest (Mica Levi)

LONDON FILM CRITICS CIRCLE
TECHNICAL ACHIEVEMENT (FOR MUSIC)
The Zone of Interest (Mica Levi)

BLACK REEL AWARDS
OUTSTANDING SCORE

American Symphony (Jon Batiste)

Chevalier (Kris Bowers)

*The Color Purple (Kris Bowers)

Rustin (Branford Marsalis)

They Cloned Tyrone (Desmond Murray and Pierre Charles)

CRITICS CHOICE AWARDS
BEST SCORE

Barbie (Mark Ronson and Andrew Wyatt)

Killers of the Flower Moon (Robbie Robertson)

*Oppenheimer (Ludwig Göransson)

Poor Things (Jerskin Fendrix)

Society of the Snow (Michael Giacchino)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

SATURN AWARDS
BEST MUSIC

Avatar: The Way of Water (Simon Franglen)

Barbie (Mark Ronson and Andrew Wyatt)

Indiana Jones and the Dial of Destiny (John Williams)

The Little Mermaid (Alan Menken)

Renfield (Marco Beltrami)

Spider-Man: Across the Spider-Verse (Daniel Pemberton)

The fantastical books of Roald Dahl (1916-1990) remain some of the most popular for children around the world. Known for his novels and short stories, they have also had their run as popular film adaptations and musicals. I wanted to take a trip through some theatrical films and the music that accompanied.

Dahl's novel became the film Willy Wonka and the Chocolate Factory (1971), now regarded as a family classic. Anthony Newley and Leslie Bricusse provided the songs like "Pure Imagination", "The Candy Man" and "Oompa Loompa" with Walter Scharf as adaptor and music director. They were all nominated for a Oscar for Song Score/Adaptation.

The Witches (1990) was next to hit the big screen - a darkly comic version with standout makeup, creature effects and a terrifying performance by Anjelica Huston. Stanley Meyer's fun dark score has never been released.

James and the Giant Peach (1996) saw the fanciful world become stop-motion animated. Providing the few songs and score would be Randy Newman, fresh from his Pixar success. Newman's score would be nominated for the Musical or Comedy score at the Oscars.

Also released the same year was Matilda (1996). The adaption kept pretty close to the original book and focused on much of the story's fanciful humor. Frequent collaborator with director Danny DeVito, David Newman's score is energetic, comedic and generally heartfelt.

Tim Burton directed his take on Charlie and the Chocolate Factory (2005) with Johnny Depp's odd portrayal as Wonka. Even with its mixed results, the film was a box office hit. Danny Elfman wrote an extravagant score in addition to writing new songs for the Oompa Loompas (adapting Dahl's original lyrics) - each an eclectic style of music and all performed by Elfman.

Dahl's work returned to the stop-motion world with Fantastic Mr. Fox (2009). Director Wes Anderson expertly used Alexandre Desplat's quirky mixing of musical styles and whimsical orchestration. The playful and sentimental score was nominated for an Oscar.

Steven Spielberg brought The BFG to the big screen in 2016 with John Williams providing the score. He focuses on the tender music for the lead Sophie, with the score coming alive once she heads to Dream Country. Williams clearly enjoyed the balletic nature of catching dreams, with magical orchestration and warmth.

Alan Silvestri provided a darker score for the remake of The Witches (2020) - another collaboration with director Robert Zemeckis. His Grand Hight Witch theme covers much of the score, with some lighter musical antics and sweeping heroics. In the US, the film was quietly taken off HBO Max, making the film a brief sidenote.

Tim Minchin wrote the loveable show Matilda the Musical, appearing in the West End in 2011-current and Broadway in 2013-2017. The endearing show was adapted to film in 2022, with many of the songs left in.

In 2023 Wes Anderson to Dahl with The Wonderful World of Henry Sugar in a collection of short films that also included Poison, The Rat Catcher and The Swan. Strangely enough, the short films have no score.

Returning to the world of chocolate was the prequel Wonka (2023). Featuring a younger Willy Wonka, it also featured a score by Joby Talbot, new songs by Neil Hannon, including past songs from 1971.

In addition to the screenplay to Willy Wonka and the Chocolate Factory, Dahl wrote the screenplays for The Night Digger (1971) with music by Bernard Herrmann. He also surprisingly adapted two Ian Fleming novels to the screen: You Only Live Twice (1967) with a great James Bond score by John Barry and Chitty Chitty Bang Bang (1968) with songs by the great Sherman Brothers.

Ghostbusters: Frozen Empire

Score by Dario Marianelli
Ghostbusters Original Themes by Elmer Bernstein
Conducted by Tim Davies

Orchestrations by Geoff Alexander, Dario Marianelli

Total album running time: 61 minutes
Available on Sony Classical

The Ghostbusters franchise got a jumpstart with Ghostbusters: Afterlife in 2021. Just as the films look back to the past, the music continues the legacy of Elmer Bernstein's score to the 1984 original film. His themes held much of Rob Simonson's Afterlife score together, and here Dario Marianelli adapts Bernstein's material to a great effect.

Manhattan Adventurers Society starts just like the original Bernstein score - the ondes martenot's ghostly motif. The action motif leads into the dissonant spooky sounds building to a choir and a sting of the Ghostbusters theme. The action motif with ondes martenot starts The Sewer Dragon. We see the Ecto-1 on their mission, highlighting action and comedy beats with the Ghostbusters theme used. The momentum hardly lets up with rhythmic strings and brass jabs, even a bit of organ for Bernstein-esque moments. Firehouse gives us more Ghostbusters theme, reintroducing the bouncy intro.

Ray's Occult begins with some lighter moments before settling into the creepier sounds of held strings, muted horns and the ethnic-sounding Garraka motif on flute. A Ghost in the Attic again leans into the suspense before a reference to Slimer's attack from 1984's score. Chess in the Park gives us a bit more ghostly sounds of the ondes martenot with bits of the Ghostbusters piano vamp. We then hear the first instance of the softer theme for Melody. When the Light is Green... has more ghost motifs with suspenseful underscoring.

Paranormal Research Center enters with comedic urgency in the low strings with a lighter section led by harps before adding more suspense and a Ghostbusters theme nod at the end. A Call uses a bit of the low strings motif from the last track combined with the Ghostbusters theme on brass. The Orb starts right off with a dissonant full orchestra, uneasy sounds and Garraka's motif.

We hear Melody's theme return on harp and piano in A Tour of the Firehouse as it combines with aspects of the Ghostbusters theme. Slimer features both the comedic and horror musical tropes. Dadi's Secret Room starts right off with the ondes martenot and the uneasy Garraka's motif. Should We Investigate? has some Bernstein-style ghostly underscoring before launching into the Ghostbusters theme and bouncy vamp.

Dr. Wartzki gives us more spooky ondes martenot and expands on Garraka's motif with prominent choir, strings and harp while we hear the backstory of the villain. In Patience, the NY Library lion comes to life giving a fun mix of action, comedic stings and large brass and percussion features. Golden Years is a brief cue for strings and piano underscoring a chat between Winston and Ray. It's Your Turn combines the ondes martenot, Garraka's motif on flute and twinkling effects.

Ionic Separator continues the lovely melancholic theme for Melody and Phoebe, with added percussive effects. Now He Can Control You returns to the extended orchestration and choir with an added intensity. As Garraka grows in power in The Horns, we hear the most full statement of his motif. Back to Headquarters uses the repetitive action pattern mixed with bits of Garraka and Ghostbusters themes. A fun rhythmic pattern appears in New Proton Packs with trilling strings building with brass on elements of the Ghostbusters theme. The action continues in Posessesor's Mistake with trilling strings and clanging sound effects. The cue ends with a large brass and choir crescendo.

Was Any of it Real? has more dissonance and rising eerie effects with a slower Melody theme on piano. Last Frozen Stand uses the Garraka's motif and Ghostbusters theme and gives them both more action oomph as all the heroes unite. The Thawing is a lovely calm piece for strings and harp before leading into the Ghostbusters vamp. In the Fabric of the Universe is a touching cue that gives us another statement of Melody's theme with ondes martenot amongst the strings, french horn line and glistening piano.

While the film doesn't capture the comedy or scary aspects perfectly, Marianelli tries to sit right in between. There are plenty of quiet moments, musical stings and comedic ways of keeping the momentum...some parts are almost drowned out by the film's sound mixing. Much like the returning cast, hearing Marianelli weave together bits of Elmer Bernstein's score and the ondes martenot are a bit of their own musical nostalgia.

Back to our musical score time machine! For this edition, we're looking way back to 1994! Here's a look back at the scores of the year with my list of the 10 Best Scores Turning 30!

Let's start the ranking!

10. Speed (Mark Mancina)

This fun 90s action flick helped put Mancina on the map. The main theme and anthems sound like so much from that time period, with electronics and non-stop action beats taking much of the score.

9. Little Women (Thomas Newman)

A very traditional orchestral score by Newman, the highlight is the main theme that has a few variations through the score. Another playful theme appears a handful of times. Unfortunately, many of the most tender and lovely cues on the soundtrack end as quickly as they started.

8. Iron Will (Joel McNeely)

McNeely brought the spirit of adventure to this dog race film. The orchestra shines in the playfulness and heroic fanfares used in between statements of his strong soaring theme. The score works even better on Intrada's expanded album.

7. Stargate (David Arnold)

Arnold caught listener's ears with this rousing sci-fi score. The score is anchored by the great main theme and love theme using every bit of the orchestra and featured choir that feels like a throwback to other thrilling epics.

6. Black Beauty (Danny Elfman)

A beautiful score that really doesn't have the hallmarks of a Danny Elfman score. Past the lovely main titles are emotional cues that feature violin and piano alongside the lilting dance-like style. Like the previous year's Sommersby, it showed Elfman's depth as a composer.

5. Wyatt Earp (James Newton Howard)

Even in the 1980s-90s resurgence of western epics - Howard's score stands out. With sweeping melodies and western instrumentation, the action and drama is serious. Many of his grand gestures would continue in 1995's Waterworld.

4. Forrest Gump (Alan Silvestri)

Besides the decades worth of popular songs, Silvestri's score is both intimate and expansive in its usage of several main themes. The main "feather" theme became the film's standout. I do love the touching theme for Jenny and Forrest and the rousing running theme.

3. The Shawshank Redemption (Thomas Newman)

Newman's beautiful orchestral score defines much of the film. It elevates the scenes without getting in the way, gently using themes that add to the emotions later in the film. By the time you reach So Was Red/End Title, you feel like you've gone on a journey that's worth relistening to.

2. Legends of the Fall (James Horner)

Horner's extremely lush score matches the sweeping vistas of the Montana landscape. He gives it a vintage feel with fiddle and piano solos and memorable Appalachian-style themes. Later the brooding brass, percussion and shakuhachi play a large part in the epic score.

1. The Lion King (Hans Zimmer)

The Disney renaissance featured some of the best songs in the company's long history, and this film has plenty to choose from. It also took a detour from Alan Menken's underscoring style to the dramatic work of Zimmer and team. Zimmer's thrilling score mainly stands apart, even if it does have a bit of song melodies interspersed. The iconic sounds of the film also have much to thank from the South African rhythms and chants by Lebo M.

Honorable Mentions:
Clear and Present Danger (James Horner), Interview with the Vampire (Elliot Goldenthal), Mary Shelley's Frankenstein (Patrick Doyle), The Shadow (Jerry Goldsmith)

Any personal favorites of yours from 1994 that I didn't include?

Let's dig back into the Disneyland past of a long gone animatronic music show. In this edition of Music Behind the Ride, I'll be looking back at the Bicentennial show America Sings!

When the Carousel of Progress closed in 1973, Disneyland was looking to fill the space and also find something to celebrate America's Bicentennial in 1976. The bighead characters of America on Parade were also used around this time. Even though it didn't fit in Tomorrowland, America Sings took guests through different eras of American music in the rotating theater. (Fun fact: the rotation went opposite of Carousel of Progress!)

With characters designed by Marc Davis and Al Bertino, we see many audio-animatronic animals in each scene, sometimes in joke scenarios quickly appearing to perform a phrase of a song. Each act has several characters and songs which are too lengthy to list - here's a sample.

We first meet our narrator Eagle Sam (voiced by Burl Ives). He sings "Yankee Doodle" and introduces the show's idea. Eagle Sam and Ollie Owl sing snippets of American songs that can be sad "Jeanie with the Light Brown Hair" or happy "Pop Goes the Weasel". "Yankee Doodle" continues as the stage rotates to the first section.

The first segment is The Deep South. Throughout the act we see geese, gators, possums and hens sing a portions of "Dixie", "Camptown Races", and "Polly Wolly Doodle" among others.

With the stage rotating to the next act called Heading West, "Yankee Doodle" is given a western treatment by Eagle Sam and Ollie Owl. In this act we see a sombrero-wearing dog, turkey and vultures sing songs like "Old Chisholm Trail", "Who Shot The Hole in My Sombrero?" and "Home on the Range".

The next transition explains the next act, The Gay '90s with songs from the turn of the century. We see new sets of animal performers and hear songs like “Won’t You Come Home Bill Bailey?”, "The Old Gray Mare", with "Ta-ra-ra Boom-de-ay" providing the endcap.

The last transition leads to jazzier arrangements of the Modern Times. We hear bits of "Singin' in the Rain", while the electric guitars introduce "Hound Dog", "Shake Rattle and Roll" and "Joy to the World".

We rotate again as"Yankee Doodle" gets a more updated funkier adaptation. Eagle Sam leads the audience into a chorus of "Auld Lang Syne" and we hear a peppy version of "Star and Stripes Forever" as the audience exits the theater.

The show continued from 1974 until 1988. After years of being office space, the gutted theater became the home for Innovations in 1998 and Star Wars Launch Bay in 2015. After the COVID closure, the space hasn't been reopened.

Buddy Baker arranged all the musical styles and (mostly public domain) songs for the show. The America Sings album in 1974 featured all the show songs and others sung by Burl Ives. Later park albums would include a pared down medley.

To many Disneyland fans, the show is famous for two reasons: the unfortunate death of a cast member in 1974 and the repurposing of several animatronics to Splash Mountain in 1988. Since imagineer Marc Davis also designed characters for Song of the South, many animatronics fit right into Br'er Rabbit's laughing place for its run.

Originally a staple of the early Disney years, animatronic stage shows operated all around the Disney parks. You can read about the others I've featured: The Mickey Mouse Revue, Kitchen Kabaret. One fun animatronic stage show Walt Disney World is getting a total refresh in 2024: Country Bear Jamboree.

IF
Score by Michael Giacchino
Additional music by Curtis Green
Orchestrations by Jeff Kryka
Conducted by Curtis Green
Score recorded at Eastwood Scoring Stage, Warner Bros.
Total album running time: 76 minutes
Available on Milan Records

After a turn with the "silent" thrills, of A Quiet Place films - director John Krasinski turned to composer Michael Giacchino for IF. The score had to fit the space between comedy and drama, live action and animation and still be clear enough for children. Much of that sounds like what Giacchino mastered for his numerous films for Pixar.

The main theme for IF is everywhere in the score - it has a call and response type melody that repeats in several scenes. Giacchino likes to keep the theme the same, but change instrumentation and volume to emphasize different parts of the film. There is another theme for the human relationships in the film, a longing theme that appears in various placements.

The IF Suite starts off with the IF theme with piano and solo violin call and response. We also get a whistling and brass variation of the theme. The piano then introduces the [what I'll call] longing theme with a tender string ensemble behind it. A larger statement of the IF theme doesn't last long, as the piano and cello take over the sentimental side. It's a lovely suite to introduce the major themes and the quirky but emotional score

A Blaze of Stories contains the IF theme whistled, on violin and piano to a crescendo. Afterwards the theme's tempo picks up with a plucked string section and chipper mood for the whistler. Trepidation Down Memory Lane gives us the longing theme on solo piano with gentle strings. The theme continues in One Man's Hospital is Another Girl's Pain, which is slowed down to its bare bones. Stairing Down Your Fears is a lovely rising piece for strings and harp. Don't Get Imaginaried Away starts with some comedic suspense with off-kilter writing. Bide and Reminisce uses the chords of the longing theme.

A Room with a Blue is relatively breezy, with plucked strings and hopping woodwinds and eventually a bunch of sliding strings. An Imaginary Home Companion uses an accompaniment of the IF theme featuring harp and piano before letting the theme play out. The Balance of Flower contains the same general accompaniment, with harp and piano leading to the longing theme. One Blue Over the Cuckoo's Nest utilizes the IF theme with piano and whistling and some folksy instrumentation. Advanced Placement Therapy builds with the tremolo strings of the IF theme before going into a more comedic pizzicato and brass variation.

Magical M-IF-tery Tour starts with the IF accompaniment adding a charging rhythm. The IF theme gets a circus style statement with twinkles, with some funkier side elements also used for various IF identities. Flowers for Benjamin uses a faster variant of the longing theme.

Brief Interviews with Fastidious Friends is a real highlight - featuring the IF theme at full force. We mainly hear the whistle version, but switches to the pizzicato strings/harp/tuba, and comedy woodwinds variations. A march variation sneaks in, as does a spy guitar sting but neither last for long. Remembrance of Things Outcast uses the chord accompaniment with the IF theme slowly adding in. Granny Get Your Fun is a gentle accompaniment of the longing theme, which is then brought in on solo clarinet.

Blue-min' Human builds with the accompaniment, before bringing in energetic strings, brass and a brief whistle appearance. He Totally Blue It has some tender version of the longing theme on piano and strings with a plucky alternate of the IF theme ending the cue. Piano opens Croissants and Croissants-ability, then uses a lot of held string tremolos, gently gliding into some hopeful resolution. The positivity continues as IF-Win Statement reprises the IF theme for full orchestra.

The Lost City of Bea gives us some more tender reprises of the longing theme, sustained notes and repeated lone piano notes. Everything is broken down to its smallest pieces - simple piano chords that Giacchino knows work effectively well for drama. Strings enter and build up to a reprise of the longing theme. Calvin and Jobs builds slowly but also features solo piano chords, solo cello features that all lead to a grand statement of the IF theme. We get The ALTERNATIVE IF Suite in the end credits, introducing electric guitar and drum set to the upbeat versions of the theme.

Giacchino decided to keep things simple on the surface. Like many of his most touching scores, the act of writing and deconstructing a theme works the best for all sorts of scenarios. Lighthearted comedy scenes can switch to teary drama with just a few changes. He has done well in the past straddling that line of genres, and thankfully that works here too. And good luck getting that whistling IF theme out of your head.

Back to our musical score time machine! For this edition, we're looking way back to 2004! Here's a look back at the scores of the year with my list of the 10 Best Scores Turning 20!

Let's start the ranking!

10. Troy (James Horner)

Written after the great Gabriel Yared score was dropped, Horner wrote Troy in a pinch. Utilizing some well-worn tropes, Horner was still able to build on emotional and action beats with a strong Trojan theme, love theme and female vocals.

9. The Aviator (Howard Shore)

Martin Scorsese doesn't always have a full original score, and here Shore's work really shines. It showcases the dark moments in between the plentiful songs, using some repeated ostinatos. The flying sequences give the main theme that is showcased with big brass and percussion. The repetition also helps underscore Hughes' downfall in the finale.

8. Lemony Snicket's A Series of Unfortunate Events (Thomas Newman)

Truly a great combo of composer and darker children's story. Newman's oddly placed themes, rhythms and orchestration work for the quirky film. He's able to be more eclectic in his styles, while still maintaining the signature Thomas Newman soundscape.

7. Spider-Man 2 (Danny Elfman)

Elfman built on the original score with even more action and orchestral chaos. We hear several past themes (some tracked directly from the first), a strong theme for Doc Ock and some behind the scenes drama leading to varied composers adding their work in.

6. Van Helsing (Alan Silvestri)

Silvestri understood the larger than life needs for this assignment. Silvestri's bombastic score has the elements of gothic choir, huge amounts of percussion, homages to classic monsters. It has all the trappings of Silvestri action and drama that make it a delight to listen to.

5. The Passion of the Christ (John Debney)

Debney's score is a moving addition to Mel Gibson's popular and controversial film. The score utilizes a mix of classical and ancient sounds - full of wailing vocals and middle eastern instrumentation. There's also some strong dissonance in the more upsetting scenes but some gorgeous string writing later in the film.

4. The Village (James Newton Howard)

Another great score for the JNH/Shyamalan collaboration. We get an overall more restrained, moody score. It's the Hilary Hahn violin solos that carry the score to the next level, and its tone is stronger than the film itself.

3. The Polar Express (Alan Silvestri)

Silvestri jumped into the Christmas spirit with this animated tale with director Robert Zemeckis. Strong themes, thrilling adventure and childlike wonder surround every cue. We get lots of large choir and typical Silvestri bombast with several themes put to lyrics.

2. The Incredibles (Michael Giacchino)

Giacchino burst onto the Pixar scene with his jazzy score. Full of adventure music, and spy moments with some strong homages to Lalo Schifrin and John Barry. Its brass and percussion work made it stand out from previous (and gentler) Pixar entries.

1. Harry Potter and the Prisoner of Azkaban (John Williams)

Even after composing music for the first two films, Williams' score took a different direction that ended up being one of his best modern scores. Instead of focusing on his past themes, the score matured to include several iconic musical set pieces and new themes.

Honorable Mentions:
Finding Neverland (Jan A. P. Kaczmarek), Hidalgo (James Newton Howard), Sky Captain and the World of Tomorrow (Edward Shearmur), The Terminal (John Williams)

Any personal favorites of yours from 2004 that I didn't include?

Horizon: An American Saga - Chapter 1

Music composed and conducted by John Debney
Orchestrations by Mark Graham, Mike Watts, Trevor Motycka, Roger Satorra, Victor Pesavento

Additional conducting by Mark Graham

Score recorded by The Royal Scottish National Orchestra
Score recorded at RSNO Centre, Glasgow
Total album running time: 95 minutes
Available on Sony Classical

Ambitious....Western....Kevin Costner. Sure seems like they go together. Costner decided to go overly ambitious with an epic even longer than the others - split into parts that will hopefully find life on the VOD and streaming market. Kevin Costner as a director has had some great musical scores, and Horizon is a fine addition to the likes of John Barry, James Newton Howard and Basil Poledouris.

To add to the Western feeling, Debney emulates (but never copies) the styles of that big adventure western orchestra and also featuring fiddle, guitar and vocal solos. The sound from the get-go is reminiscent of the big Western scores of the 1990s like Wyatt Earp. The main theme does start things off, but only appears a handful of times. With the gaggle of interconnected characters introduced, I'm sure I've missed some of their various motifs and themes.

Horizon Main Title Theme is a great opening statement of the theme, bursting into full orchestral splendor. Desmarais Off Track is a brief cue with a guitar at the forefront. Desmarais Finds Bodies/Young Surveyor's Death gives some dramatic atmosphere and eventually a haunting main theme melody on vocal solo. James Sykes features a guitar riff theme for Lucy as she escapes her abuser in rural Montana.

Mimbreño Brave keeps momentum in the lowest strings with fluttering woodwinds and building percussion. The tone continues is the long action set piece, Start of Massacre. Naturally big brass bursts and frantic string runs fill the cue. Russell Escapes/Nathaniel Leaving Frances and Elizabeth brings out the bombastic brass and strings before the horror-esque pounding and shrieking strings take over. Tunnel Collapse uses string tremolos to keep some tension with some grating sounds adding textures and at the end the main theme returns on violin solo. The main theme continues on vocals in Battle Pauses/Opening Jar of TNT with great effect. End of Massacre continues the main theme on violin solo over a lovely string arrangement, eventually adding the vocals in addition.

Horizon in Ruins is a somber cue for strings with percussion backing with Fallen Settlers utilizing violin solos and woodwind flutters. White Eyes of the Changing World is back to calm with a melody passed from woodwinds to strings and guitar and the sorrowful mood continues in Burying the Dead and Identifying Bodies as it brings piano in a hymn-like fashion. Leaving Horizon/The Tribe Splitting Up brings back the title Horizon theme. Costner's character gets a bouncy folk tune in Hayes Entrance. Horizon gives the title theme a bit of shining time giving the some optimism for the town's future.

Persistent Marigold uses a lighter guitar melody as we meet Hayes' companion Marigold. Romance begins with the folksy violin solo in Gephart Approaches Frances. Western string and guitar twangs are used in Horizon Line Shack with a sorrowful violin solo leading It's Our Day. Dissonance starts to creep into Caleb Beats Walt, while Gunfight at Marigold's is a long set-piece of atmospheric dissonance and tension that adds subtle electronics.

Hayes Quits Town with Marigold and Samson brings the folksy Hayes theme back. Mrs. Riordan Takes a Walk uses the Horizon title theme in a lighter setting. The short cue Elizabeth Meets Mrs. Riordan is a features a gentle piano solo. Pawnee Braves Observe Wagon Train gives off the brooding atmosphere with some electronic elements and fluttering woodwinds. Junior Brings Caleb's Body Home utilizes the long tones of dissonance heard earlier with the Sykes brothers. Junior IDs Hayes has a darker take on the Hayes theme. Trading Post Standoff/Migrant Camp contains some moody string writing with some fiddles and guitars adding some extra texture.

Marigold's theme returns on guitar in One More Night before transforming into an anthemic Civil War battle theme. The earlier romantic theme is reprised in Cloth Flowers, one of the only saccharine moment in the film, but this sweeping orchestral cue is great. Seducing Hayes/Frances and Gephart continues the sweeter romantic themes with featured violin and guitar. Fluttering winds join the gentle mood in the brief Soul of Honor.

The danger returns in the next cues starting with Tonto Sentry Spots Janney's Party. The charging rhythm continues through the cue as it adds in string dissonances, woodwind flutters. The brass crescendos add some more excitement in Tonto Sentry Prepares to Shoot with a quieter interlude for strings and vocals - meanwhile Janney's Party Finishes Massacre has some elements of a modern action cue.

The highlight of the score is where it gets to really shine without dialogue for the extended montage in Horizon Montage Begins/Closing Survey. It's a cue that meshes Debney's Western and modern sound - crescendoing with a big orchestral statement of the title theme that eventually adds the vocals and strong brass. It's a great cue that highlights Debney's thematic payoff. The end credit song Amazing Grace ends the album, arranged by Debney and performed by Alyssa Flaherty & Shelley Morningsong.

Debney seems to divide his Horizon scoring through folksy twang, 90s orchestral grandeur and atmospheric (mainly for the villains and Native Americans). It blended a bit more smoothly in the film, rather than on the album because of the incredibly short cues. We'll have to see how the thematic ideas get expanded in the future installments.

A new version of an old classic has arrived at Walt Disney World! In this edition of Music Behind the Ride, I'll be skipping straight to the new Country Bear Musical Jamboree!

The updating/changing of an original Disney attraction is always risky business. The Country Bear Jamboree opened with Walt Disney World's Magic Kingdom in 1971. It previously had a holiday overlay (Country Bear Christmas Special) and update (Country Bear Vacation Hoedown). But now, this 2024 refresh has a new script, new versions of songs and updated animatronics. [Those missing the original can still see it in Tokyo Disneyland].

Here's the rundown of this newest revamp. Once through the queue filled with fun easter eggs of past Jamborees, you enter the main seating area. The opening spiel is still given by the mounted heads of Melvin, Buff and Max.

Henry, the emcee bear introduces himself and piano player Gomer. The curtain opens to The Five Bear Rugs band as they perform "Country Bear Musical Jamboree" - the original song for this show. Next is Trixie (with backed singers Bunny, Bubbles and Beulah). She sings Zootopia's "Try Everything" with a slideshow showing humorous drawings of her trying everything.

Henry introduces Romeo (formerly Liver Lips) singing The Little Mermaid's"Kiss the Girl". The next performer is Ernest playing Mary Poppins' "Supercalifragilisticexpialidocious" on his fiddle so fast that it begins to smoke. Gomer appears under the moonlight as Wendell sings Aladdin's "A Whole New World" and then is joined by Teddi Barra on her swing.

Melvin, Buff and Max introduce the next bear, Shaker, with a short intro of Frozen's "Fixer Upper". Big Al appears singing a sad version of Coco's "Remember Me" before crying and moving on. Henry next accompanies himself (and little racoon Sammy) Toy Story's"You've Got a Friend in Me". He calls the entire ensemble together to sing The Jungle Book's"The Bear Necessities". Big Al tries to continue his solo of "Remember Me" before the last number. As you exit the auditorium, they jump into a bit of "Come Again", a song written for the original show.

Depending on your love/nostalgia of the original show, this reimagining is a welcome change to a show that has been dwindling in popularity or another recent misstep of shoe-horning Disney characters into a classic show (see: Enchanted Tiki Room Under New Management).

That said, I don't quiet understand the song selection. Some of the choices match the characters of the previous show which if you're too young, you have no idea what they're references. Maybe they looked at popular Disney songs and what arrangements would work in the country styles. I do like most of the arrangements, but they don't feel that distinct - just given a little bluegrass flair.

The show album expands the songs with arrangements and vocals different than the show, it definitely works better on the album. While you get all the full songs from the show, for some reason, "Remember Me" isn't included and "Fixer Upper" is instrumental.

However you think of it, Country Bear Musical Jamboree is a refresh of a show that wasn't getting the attention it deserves. Thankfully the animatronics got another life with updated motions as they perform the jukebox style Disney numbers. We'll see if this new version lasts and is a hit with current audiences.

In this Screen Credit Quiz, let's get into the spooky season with some Horror films!

I tried to include some interesting titles all from different eras! Name the horror film by composer's credit...good luck! Happy Halloween!

10.

It's time to enter the musical score time machine! For this edition, we're looking back to 2014! (Did Desplat sleep at all that year??!) Here's a look back at the scores of the year with my list of the 10 Best Scores Turning 10!

Let's start the ranking!

10. The Imitation Game (Alexandre Desplat)

Desplat sounds like Desplat with the lush strings and woodwinds and heavy piano usage. Like other scores, piano arpeggios represents Alan Turing's machine thinking. The lovely main rising theme appears a few times in the album as does the rhythmic ostinatos for the decrypting sequences.

9. A Million Ways to Die in the West (Joel McNeely)

Film score fan Seth MacFarlane thankfully turned to collaborator McNeely for this Western sendup. McNeely uses all the usual Western tropes, but has his own thrilling and catchy main theme. A comedy score works best when it takes itself seriously, and this is a pastiche done with love and a twinkle in its eye.

8. The Hobbit: Battle of the Five Armies (Howard Shore)

It's incredible that Shore managed to continue the leitmotif style of The Lord of the Rings trilogy with this big undertaking for The Hobbit. Here he continues the past themes, weaving them into some haunting moments, overlapping thematic statements and crafted battle sequences.

7. Under the Skin (Mica Levi)

A totally unique ambient, modern minimalist score. The distorted recordings are upsetting (as is the film itself). I wouldn't listen to it much outside of the movie, but its a cold and tension filled score.

6. The Monuments Men (Alexandre Desplat)

Desplat's throwback score has some upbeat militaristic flair, along with scenes that showcase his comedy and thriller writing. He gives the film some of his usual charm starting with the delightful main theme march.

5. Maleficent (James Newton Howard)

For this darker Disney live-action tale, we get a darkly magical score. Sweeping strings give way to gentle instrumental solos. The Maleficent Suite is a great introduction to his main themes and motifs as he expands on each throughout the score.

4. The Monkey King (Christopher Young)

Christopher Young pulled out all the stops for this epic Chinese fantasy film. He uses a massive orchestra and choir with the appropriate Asian instrumentation. The album has suites of the main characters, with some tranquil beauty, soaring melodies and thrilling action sequences.

3. The Grand Budapest Hotel (Alexandre Desplat)

An original score finally stands out in this Wes Anderson film. Desplat was able to create a few themes that go through tons of variations with the kitchen sink of instruments. The score is meticulously detailed, even when the quirky sounds seem repetitive.

2. Interstellar (Hans Zimmer)

One of his most thrilling works - it captures Christopher Nolan's vision of the vastness of space and the intimacy of the family story. Zimmer likes to find a hook for each film - in this one we get the epic church organ. The main theme building through the score is a reliable standard for Zimmer and the main theme has had life outside the score for a while now.

1. How to Train Your Dragon 2 (John Powell)

The film's characters have matured since the first film, and so has the score. Powell expands on the joyous score with new material that blends seamlessly into the first film's score. The themes seem bigger, with bolder action, more choir, and certainly more Celtic instruments highlighted. It's a masterclass in animated scoring and sequel scoring.

Honorable Mentions:
Godzilla (Alexandre Desplat), The Hunger Games: Mockingjay – Part 1 (James Newton Howard), Need for Speed (Nathan Furst), Rio 2 (John Powell), The Theory of Everything (Jóhann Jóhannsson)

Any personal favorites of yours from 2014 that I didn't include?

Here
Music composed and conducted by Alan Silvestri

Orchestrated by Mark Graham

Score recorded at AIR Studios, London
Total album running time: 39 minutes
Available on Sony Music (digital)

Here marks Robert Zemeckis and Alan Silvestri's 40th anniversary working together, and film number 20. Always looking for an interesting way to tell a story, Here lets the camera stay in one spot and we see the various snapshots of time from the Ice Age to the present. Covering several storylines, families and plots is Silvestri's overarching music.

There are two main themes appearing throughout the score, letting them criss cross over stories and generations. Silvestri keeps the style and instrumentation the same throughout the time periods, with a few exceptions noted later. While the time periods are marked with handfuls of source songs, Silvestri's score is also given ample time free of dialogue, especially the prologue/main titles. On the album, the score cues are relatively short

Opening begins with gentle harp as piano takes over the warm A Theme. Woodwinds gently add into the Theme as it swells with a statement of the B Theme before returning to the A Theme. From this cue, we get the sense of the score and the beginning Silvestri's unabashedly sentimental journey. Why Am I Here? features strings, harp, piano and woodwind solos which is light and melancholy.

Extinction builds the orchestra up with minor chords in the brass, choir and strings that could belong in several of his action scores. This is Here returns to the A Theme on solo flute before bringing in the larger orchestra, choir and contrapuntal melodies. A bit of tin whistle, guitar and fiddle join the B Theme as a reference to the house's Colonial past. The A Theme soars again with trumpet solo surrounded by high-pitched strings. Necklace of Shells underscores the romance of the Indigenous couple with light woodwind and string textures. We also hear the necklace motif, representing the physical necklace, but also the changing of time itself.

Mammoth opens with a large brass statement of the B Theme, quickly returning to the magic wonder of the A Theme with twinkling harps and glockenspiels. Circle of Life begins with the necklace motif which then is added to the A Theme and B Theme at the close. God Help Me contains some brief illusions to the past themes, this time a bit slower and sorrowful.

The Necklace continues the necklace motif and blending the ascending piano motif from earlier. I Think She’s Going To Leave Me features more expressive solos and seemingly simple writing. Sell the House breaks elements of the themes down, passing elements to different instruments and builds into some newer lines of music.

The Great Flood features some great choral textures and dissonances before going into the larger action statements for brass and percussion. The cue ends with a statement of the necklace motif. The beautiful solo writing continues into I’m Going to Sell the House. The piano starts the A Theme, joined by the other instruments to great effect. I Love It Here begins with the strings and the rising piano motif before moving into the bare A Theme on piano. The orchestra begins to open up, as they crescendo to the biggest statement of the theme. It's a truly lovely moment that feels earned after seeing the passage of time for the characters played by Tom Hanks and Robin Wright.

Those not in favor of the shorter tracks, can relish the exquisitely long End Credits. First up is a slightly different version of the A Theme with subtle guitars and violin solo. The A Theme continues with featured brass counterpoint and then the lighter Colonial sounds. The B Theme gets its appearance in between A Themes. It then transitions to the darker prehistoric music, as the twinkly variation of the A Theme takes us to the traditional piano and woodwind version of the main title. It's a lovely wrap-up of the main themes and is a great standout example of Silvestri's work on the film.

It's a short album, but works great in the film bridging the time and stories. If you swoon over the sweeping melodies of Forrest Gump, his suburb music for Cosmos, this warm music will wash over you like a throwback to a sweeter time. The film and the score know exactly which emotional buttons to push, and I think that's a welcome addition to the film.

Composer and lyricist Stephen Schwartz has had work on Broadway, film and television over the decades. Through his musicals and Disney lyrics, his work is known around the world. Here's a sampling of his work on the screen.

Godspell (1973)

The 1971 off-Broadway musical Godspell, based on the Gospel of St. Matthew. The show toured the world, made it to Broadway in 1976. The 1973 film version featured actors from the original and Canadian casts. Some songs were cut and abridged, but Schwartz added "Beautiful City" which has been added in subsequent stage versions.

Pocahontas (1995)

Looking for a new lyricist, Alan Menken was suggested Schwartz, entering his first foray into Disney animation. He did research into Native American imagery as the studio tried to be culturally sensitive. Together Menken and Schwartz wrote "The Virginia Company", "Steady As The Beating Drum", "Just Around The Riverbend", "Mine, Mine, Mine", "Listen With Your Heart", "Colors of the Wind", "Savages,""If I Never Knew You". They won a Grammy, Golden Globe and at the Oscars won Best Original Music or Comedy Score and Best Original Song for Colors of the Wind. The end credits pop version sung by Vanessa Williams also became a Billboard hit.

The Hunchback of Notre Dame (1996)

Schwartz continued his collaboration with Menken on the next Disney film, this time helping the story team. Containing some of Disney's darkest lyrics and largest choir, they wrote the songs "The Bells of Notre Dame", "Out There", "Topsy Turvy", "God Help the Outcasts", "Heaven's Light/Hellfire", "A Guy Like You", "The Court of Miracles", and "Someday". Their work was nominated for the Best Original Musical or Comedy Score Oscar. A darker take on the story was expanded and presented on stage in Germany in 1999 and New Jersey in 2014.

The Prince of Egypt (1998)

Schwartz wrote the music and lyrics for the second DreamWorks Animation film. Telling the story of Moses, he wrote the songs "Deliver Us", "All I Ever Wanted", "Through Heaven's Eyes", "Playing with the Big Boys", "The Plagues", and "When You Believe". Songs were covered by pop artists while the Whitney Houston & Mariah Carey version of "When You Believe" became a successful single. The song went on to win Schwartz an Oscar for Best Original Song. It was later adapted and expanded for the London stage in 2020.

Enchanted (2007)

Collaborating again with Alan Menken for this lovely and humorous homage/send-up of several Disney films. "True Love's Kiss", "Happy Working Song", "That's How You Know", "So Close", and "Ever Ever After".

Disenchanted (2022)

Menken and Schwartz reunited for the long awaited sequel. They built on the first film with more songs and more screen time for supporting actors like Idina Menzel. Together they wrote "Andalasia", "Even More Enchanted", "The Magic of Andalasia", "Fairytale Life", "Perfect", "Badder", and "Love Power" but didn't quite capture the magic of the original.

Wicked (2024)

The Broadway musical with music and lyrics by Schwartz opened in 2003 just celebrated its 20th anniversary on stage. Act 1 of the musical has stayed pretty much intact for the Part I of the film adaptation with all songs returning in their proper order. The songs include "No One Mourns the Wicked", "Dear Old Shiz", "The Wizard and I", "What Is This Feeling?", "Something Bad", "Dancing Through Life", "Popular", "I'm Not That Girl", "One Short Day", "A Sentimental Man", and "Defying Gravity". Eagle eyed viewers may catch a cameo by Schwartz in the film.

Wicked: Part II (2025)
To be continued.....

Speaking of cameos, in director Lin-Manuel Miranda's love letter to theater and mentors, Schwartz can be seen in the scene of Aspiring Composer and Lyricists in tick, tick...BOOM! (2021).

Schwartz's music and lyrics have been heard on TV for the TV musical movie Geppetto (2000) and the theme song to kid's puppet series Johnny and the Sprites (2005).

His work appeared as the title song in Butterflies are Free (1969), the songs "Time Out of Mind", "Tailspin" and "A Night on the Town" in Echoes (1982). He also provided lyrics to non-musicals with Alan Menken for "Cold Enough to Snow" from Life with Mikey (1993) and "Winter Light" from Noel (2004).

Wicked

Music composed by John Powell and Stephen Schwartz

Additional music and arrangements by Batu Sener, Markus Siegel

Score orchestrations by Jonathan Beard, Edward Trybek, Henri Wilkinson

Additional score orchestrations by Sean Barrett, Jennifer Dirkes, Benjamin Hoff, Steven Rader, Jacob Shrum, Jamie Thierman

Orchestra conducted by Gavin Greenaway

Score recorded at AIR Studios, Abbey Road Studios, Sony Scoring Stage

Total album running time: 78 minutes
Available on Republic Records (digital)

As a Broadway fan, I was thrilled when the Wicked underscore was written by John Powell with collaboration and melodies by Stephen Schwartz. In this adaptation, carefully chosen parts of songs appear in the underscore and are often used as the character's motifs. I've tried to catch as many thematic references as I could, but I'm sure there are more that Powell and Schwartz have hidden away.

The score album begins with Arrival at Shiz University with an intro from "For Good" (which will appear in Part Two) on flute, which builds with sparkling strings into the Unlimited motif, bit of "Dear Old Shiz" among brass fanfares and then we hear bits of "Popular" appearing in the lighter section. Our Heroes Meet begins with a brass sting while the bassoon introduces the melody from "No One Mourns the Wicked", followed quickly by bits of "What Is This Feeling?" and "Popular".

Nessarose begins with a regal woodwind statement of "Dear Old Shiz" and a breezy rendition of "No One Mourns the Wicked". Meet the Faculty glides in with a motif for Madame Morrible based on a bit of her melody from "The Wizard and I". The cue features plenty of pizzicato, flute solos and a variation of the la's from "Popular" which represent Galinda several times in the film. Elphaba's Power charges ahead with strings building to a climax of her magical powers with brass and choir and a quieter section that features the Morrible theme.

How to Loathe Your Roommate starts with light upbeat sounds and an inclusion of "Dear Old Shiz" and Galinda's motif from "Popular". We get a new dance-like melody that is featured in the rest of the cue with some darker and frustrated undertones. History Lesson has some moody strings and choir while we get some hints at the Wicked Witch theme (opening of "No One Mourns the Wicked"). The choir returns in Levitate the Coin with Morrible's motif hovering in the strings. All Around Something Bad features parts of "No One Mourns the Wicked" and "Something Bad" among a rising string pattern.

Prince Fiyero of Winkie Country gives a bit of "No One Mourns the Wicked" but shines with a bit of Migration (2024) like choir and statements of "Dancing Through Life" which will naturally represent Fiyero in the score. There's a bright bit of "Popular" at the end of the cue. Fiyero's theme continues in The Book Place, interrupted by Galinda's theme and a later string-led reprise of "Dear Old Shiz". Elphaba at Ozdust sneaks a "No One Mourns the Wicked" melody in the low strings before the choir and low piano chords underscore Elphaba's emotional entrance.

Sharing Secrets and Look at You showcases the slow turn to friendship with touching quick melodies from "For Good", "What Is This Feeling?" and "Popular". The warm harp, woodwinds and strings are the highlight here. Replacement Teacher gives darker tones to Morrible's theme in addition to fluttering flutes and rising timpani beat. The dizzying choir moment is a lovely callback to the 1939 score by Herbert Stothart. Cub Rescue uses quick strings for this bit of action with another Stothart reference. Forest Feelings volleys between the intro of "I'm Not That Girl" for Elphaba and Fiyero's "Dancing Through Life" on piano and strings.

Ozian Invitation opens with sparkly reference to Elphaba's Unlimited motif followed by a music box version of "Wonderful" representing the Wizard. As Elphaba gets her invitation to the Emerald City, we get a clear reprise of "The Wizard and I" and a brassy version of Morrible's motif. Galinda Becomes Glinda begins with a wonderful Powell sweeping brass moment. Twinkling bells give a bit of "I'm Not That Girl" under lilting strings. There's even some statements of melodies from "Thank Goodness" which will appear in the second film.

A ton of Schwartz melodies appear in Train to Emerald City, opening with a sentimental reprise of "I'm Not That Girl", the vamp from "For Good", the friendship version of "What Is This Feeling" which leads into a sweeping string reprise of "No One Mourns the Wicked" before the grandiose orchestra charges in and sneaks in one last bit of "Thank Goodness". Hall of Grandiosity has a re-harmonized "No One Mourns the Wicked" while the quick tremolo strings provides a motif for the flying monkeys. The Unlimited motif leads to the "For Good" among the unsettling choir and high strings. A Wizard's Plan adapts several parts of "The Wizard and I" as Elphaba finally gets her wish to visit the Wizard - the track has some lovely magical moments for harp and choir and touching flute solos.

The Grimmerie opens with Morrible's theme quickly turning into the rough choral chant representing the Grimmerie's books and Elphaba's reading. There's a new bit of musical foreshadowing with "Defying Gravity" at the end of the cue. Transformations lets Powell mix the drama of the flying monkey's theme and Morrible's theme among the large orchestral and choral bombast. We also hear some Unlimited motif, "No One Mourns the Wicked" and next the Wicked Witch theme as we feel Elphaba's anguish. Percussion and strings rise up with choir on Morrible's theme in the striking section.

Monkey Mayhem utilizes the flying monkey theme with large orchestral and choral outbursts among the action with the Wicked Witch theme appearing in full force. All Around Defying Gravity expands on the past Elphaba themes like the powerful Wicked Witch theme, Unlimited motif, and deconstructed melodies of "No One Mourns the Wicked". The Unlimited motif string ostinato leads to a moment of "Defying Gravity" to a building finish.

It's incredible that Powell was able to deconstruct the intros, verses and choruses of several songs and let them be heard and mixed together in the underscore. This weaving with the new material helps the score stand out from the songs but still feel cohesive. I can't wait to see what they accomplish in Wicked: For Good (2025). What an enormously enjoyable experience from everyone involved in the music department.

Here's the annual 2024 Roundup of Original Score nominations and winners from various awards associations. Winners will be marked in red and updated regularly!

ACADEMY AWARD
BEST ORIGINAL SCORE

Nominees 1/17

Winners 3/2

GOLDEN GLOBE
BEST ORIGINAL SCORE

The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Conclave (Volker Bertelmann)

Dune: Part Two (Hans Zimmer)

Emilia Pérez (Clément Ducol and Camille)

The Wild Robot (Kris Bowers)

BRITISH ACADEMY FILM AWARDS (BAFTA)

Winners 2/16

ANNIE AWARDS
OUTSTANDING ACHIEVEMENT IN AN ANIMATED FEATURE PRODUCTION

Kensuke's Kingdom (Stuart Hancock)

Piece by Piece (Pharrell Williams, Michael Andrews)

That Christmas (John Powell)

The Wild Robot (Kris Bowers)

Wallace & Gromit: Vengeance Most Fowl (Lorne Balfe, Julian Nott)

SATELLITE AWARDS (INTERNATIONAL PRESS ACADEMY)
ORIGINAL SCORE

The Brutalist (Daniel Blumberg)

Conclave (Volker Bertelmann)

Dune: Part Two (Hans Zimmer)

Emilia Pérez (Clément Ducol and Camille)

The Room Next Door (Alberto Iglesias)

The Wild Robot (Kris Bowers)

LOS ANGELES FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

*Challengers (Trent Reznor and Atticus Ross)

Runner-up: Evil Does Not Exist (Eiko Ishibashi)

SAN DIEGO FILM CRITICS SOCIETY
BEST USE OF MUSIC

*A Complete Unknown

Challengers

Dune: Part Two

Sing Sing

Wicked

SAN FRANCISCO BAY AREA FILM CRITICS CIRCLE

BEST ORIGINAL SCORE

*The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Conclave (Volker Bertelmann)

Emilia Pérez (Clément Ducol and Camille)

The Wild Robot (Kris Bowers)

SEATTLE FILM CRITICS SOCIETY

BEST ORIGINAL SCORE

The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Conclave (Volker Bertelmann)

Evil Does Not Exist (Eiko Ishibashi)

The Wild Robot (Kris Bowers)

WASHINGTON DC AREA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE

Blitz (Hans Zimmer)

The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Conclave (Volker Bertelmann)

Nosferatu (Robin Carolan)

The Wild Robot (Kris Bowers)

BOSTON SOCIETY OF FILM CRITICS
BEST ORIGINAL SCORE

*The Brutalist (Daniel Blumberg)

CHICAGO FILM CRITICS AWARDS
BEST ORIGINAL SCORE

The Brutalist (Daniel Blumberg)

*Challengers (Trent Reznor and Atticus Ross)

Dune: Part Two (Hans Zimmer)

Nosferatu (Robin Carolan)

Wicked (John Powell & Stephen Schwartz)

The Wild Robot (Kris Bowers)

DETROIT FILM CRITICS SOCIETY
BEST USE OF MUSIC/SOUND

ST. LOUIS FILM CRITICS ASSOCIATION
BEST MUSIC SCORE

*The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Conclave (Volker Bertelmann)

Dune: Part Two (Hans Zimmer)

The Wild Robot (Kris Bowers)

INDIANA FILM JOURNALISTS ASSOCIATION
BEST MUSICAL SCORE

The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Civil War (Ben Salisbury and Geoff Barrow)

Conclave (Volker Bertelmann)

A Different Man (Umberto Smerilli)

Nickel Boys (Alex Somers and Scott Alario)

Queer (Trent Reznor and Atticus Ross)

The Substance (Raffertie)

Twisters (Benjamin Wallfisch)

The Wild Robot (Kris Bowers)

AUSTIN FILM CRITICS ASSOCIATION
BEST SCORE

The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Dune: Part Two (Hans Zimmer)

Nosferatu (Robin Carolan)

The Wild Robot (Kris Bowers)

NORTH CAROLINA FILM CRITICS ASSOCIATION
BEST MUSIC

*The Wild Robot (Kris Bowers)

Runner-up: Challengers (Trent Reznor & Atticus Ross)

DALLAS-FORT WORTH FILM CRITICS ASSOCIATION
BEST MUSICAL SCORE

*The Wild Robot (Kris Bowers)

Runner-up: Challengers (Trent Reznor & Atticus Ross)

HOUSTON FILM CRITICS SOCIETY
BEST ORIGINAL SCORE

PHOENIX CRITICS CIRCLE
BEST SCORE

*The Brutalist (Daniel Blumberg)

Conclave (Volker Bertelmann)

Dune: Part Two (Hans Zimmer)

Nosferatu (Robin Carolan)

Queer (Trent Reznor & Atticus Ross)

LAS VEGAS FILM CRITICS SOCIETY
BEST SCORE

The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor & Atticus Ross)

Conclave (Volker Bertelmann)

*Dune: Part Two (Hans Zimmer)

The Wild Robot (Kris Bowers)

PORTLAND CRITICS ASSOCIATION
BEST ORIGINAL SCORE

FLORIDA FILM CRITICS CIRCLE
BEST SCORE

The Brutalist (Daniel Blumberg)

*Challengers (Trent Reznor & Atticus Ross)

Conclave (Volker Bertelmann)

Dune: Part Two (Hans Zimmer)

Flow (Gints Zilbalodis & Rihards Zalupe)

GEORGIA FILM CRITICS ASSOCIATION
BEST ORIGINAL SCORE

LONDON FILM CRITICS CIRCLE
TECHNICAL ACHIEVEMENT (FOR MUSIC)
Emilia Pérez (Clément Ducol and Camille)

BLACK REEL AWARDS
OUTSTANDING SCORE

Blink Twice (Chanda Dancy)

Bob Marley: One Love (Kris Bowers)

The Fire Inside (Tamar-kali)

Saturday Night (Jon Batiste)

The Wild Robot (Kris Bowers)

CRITICS CHOICE AWARDS
BEST SCORE

The Brutalist (Daniel Blumberg)

Challengers (Trent Reznor and Atticus Ross)

Conclave (Volker Bertelmann)

Dune: Part Two (Hans Zimmer)

Emilia Pérez (Clément Ducol and Camille)

The Wild Robot (Kris Bowers)

SATURN AWARDS
BEST MUSIC

The Batman Theme Returns

Broadway goes Back to the Future

Top 10 Scores Turning 10 in 2023

Music Behind the Ride: Rogers the Musical

Quick Review: Wonka

2023 Original Score Awards Roundup

Roald Dahl on Screen

Quick Review: Ghostbusters Frozen Empire

Top Scores Turning 30 in 2024

Music Behind the Ride: America Sings

Quick Review: IF

Top 10 Scores Turning 20 in 2024

Album Review: Horizon: An American Saga Chapter 1

Music Behind the Ride: Country Bear Musical Jamboree

Screen Credit Quiz (Horror Edition 2)

Top 10 Scores Turning 10 in 2024

Album Review: Here

Stephen Schwartz on Screen

Album Review: Wicked (Score)

2024 Original Score Awards Roundup